Skip to main content

Full text of "Troubadour songs"

See other formats


ONGS 


J 


flu  73^.8 T 
Troubadour      on^-r. 
3.00  *  BNG  G      ^ 


5)yr)ii5^-ni^ii'^^ 


CP^S^O^ll"^ 


MY 


1^ 


THE  NEW  YORK  PUBLIC  LIBRARY 

AT 

LINCOLN  CENTER 

111  Amsterdam  Avenue  JYl  1 

New  York,  N.  Y.  10023 

Books  Circulate  fo^m^ks  (2i  days)  unless 
stamped  othenvise.  ^^  "ays;  unless 

No  renewals  are  allowed 
A  fine  will  be  charged  foi^  each  overdue  book 

adult  bnS   ^  T''  P"^  ^^^^"^^^  d-y  fo^ 

adult  hooks  and  |  cents  per  calendar  day 
for  children's  books.  ^ 

form  D46a 


fc^^V/  "^"'"^^ 


iraiT  TOUT?  prfOTT"  TTJ?^  »_T!y  T<r\T>  <r-m  r^T^iwi^^T.fnfO  MfflS 


From  the  Manessian  Codex 


TROUBADOURS 


\^ , 


r 


o^Zcc  ^dl<^ 


ROUBADOUR 


ONGS 


Compiled   and    Arranged    by 

CLARENCE     DICKINSON 


With  an   Historical   Introduction,   Biographical   Notes,   and   English  texts 

by 


HELEN    A.    DICKINSON 


NEW  YORK:     THE     H.   W.   GRAY    CO. 

Sole   Agents   for   NOVELLO   &   CO.,    LTD. 


Copyright,   1920 

BY 

THE   II.  W.  GRAY  CO. 


V. 


^^ 


TABLE    OF    CONTENTS 


PAGE 


I.  All  Thoughts  Within  My  Heart  That  Dwell — Anonymous  ...         5 

II.  Lo!  Now  I  Bid  Farewell  to  Ventadorn — Bernard  de  Ventadour  (1145-1195)  .         7 

III.  Mercy  I  Cry  Who  All  Bewildered  Stand — Chdtelain  de  Coucy  (1157-1192)  .         g 

IV.  It  Was  in  May — ^Moniot  d'Arras  (c.  1200)         .  .  .  .  .  .  .11 

V.  Robin  Loves  Me — Adam  de  la  Hale  (c.  1285)    .......       13 

VI.  Now  My  Lightsome  Ycjth  Is  Gone— Clement  Marot  (1495-1544)  ...       14 


PAGE 
I 


ILLUSTRATIONS 

Troubadours  .  .  .  .  .  .  .  .  .  Colored  Frontispiece 

Initial  Letter  A,  with  Troubadour,  from  Ancient  Manuscript 

"A  Troubadour  Sings  for  the  Queen  of  France":  XIV  Century  Tapestry        .  6 

Bernard  de  Ventadour  (Tail-piece)         .........  7 

Chateau  Coucy       .............  8 

Arras  with  Troubadour  and  Lady,  XIII  Century         ......  10 

Facsimile  of  Original  Manuscript  of  Song  "Robin  Loves  Me,"  with  Illuminated 

Letter    ..............        12 

Tailpieces:  Troubadours  and  Instruments 


historical  Sntrobuction 


CCORDING  to  historians  of  literature  the  period  of  the  poetic  and  musical 
activity  of  the  Troubadours  opened  with  the  closing  years  of  the  eleventh 
century;  but  it  really  had  its  foundations  in  the  much  earlier,  kindred  art 
of  the  wandering  minstrel,  from  time  immemorial  so  popular  a  figure   in 
the  South  of  France.     An  old  chronicler  explains  the  early  ascendancy  of 
the  South   in  the  arts   of  music  and   poetr^^  with  the  ancient  tradition  that  when  he 
apportioned  his  great  realm  Charlemagne  gave  Provence  to  the  musicians,  poets,  and 
minstrels;  at  any  rate,  it  was  the  case  that  not  one  of  its  many  small  courts  was  con- 
sidered complete  without  its  poet  or  minstrel.     With  the  Crusades  and  the  dawning 
of  the  age  of  chivalry  and  romance  in  both  social  and  religious  life  kings  and  princes 
and  other  members  of  the  high  nobility  devoted  themselves  to  the  making  of  "verse" 
and  music,  and  developed  the  largely  intuitive  practice  of  the  minstrel  into  an  art. 

These  were  the  Troubadours,  and  their  name,  derived  from  the  Provencal  verb  trobar  {tro- 
bairc),  to  find,  and  supposed  to  have  been  adopted  as  a  new  word  in  the  language  during  the 
Crusades,  influenced  in  its  formation  by  the  Arabic,  implies  the  original  invention  of  both  his  poe- 
try and  his  music  by  each  poet-musician.  When  the  fashion  spread  to  the  North,  they  were  given 
there  the  name  Trouveres,  from  the  French  verb  trouvcr,  to  find.  For  every  new  song,  therefore, 
a  new  verse  form  and  a  new  musical  fomi  must  be  created  if  the  singer  were  to  prove  himself 
worthy  of  the  name. 

His  instrimient  of  accompaniment  was  the  vielle — the  ancestor  of  the  violin — or  the  mandorla, 
a  lute  or  small  harp.  If  he  could  not  play  it  sufficiently  well  himself  he  took  with  him  on  his 
many  journeys  from  court  to  court  and  castle  to  castle  one  who  could  play,  and,  if  necessary,  sing 
for  him,  known  as  the  Jongleur. 

From  the  great  period  of  poetic  activity  of  the  Troubadours  of  Provence  there  remain  to  us 
about  two  thousand  five  hundred  poems.  The  musical  manuscripts  are  much  fewer  in  number, 
amounting  only  to  about  two  hundred  and  fifty-nine.  These  consist  of  melodies  only,  written  on 
anywhere  from  two  to  eight  lines  drawn  in  red  ink;  there  is  no  division  into  measures.  It  is  al- 
together likely  that  much  of  the  music  was  simply  delivered  orally  and  was  not  written  down; 
indeed  space  was  left  for  it  in  some  of  the  beautifully  illuminated  manuscripts,  which  was  never 
filled  in. 

That  the  eariiest  Troubadour  music,  as  that  of  No.  II  in  this  book,  by  Bernard  of  Ventadour, 

bears  some  slight  traces  of  the  influence  of  the  Gregorian  music  of  the  Church  is  not  to  be  wondered 

1 


at,  as  all  Troubadours  of  high  rank — and  several  who  were  of  lowly  birth — were  educated  in  the 
monastic  schools,  for  the  Church  had  a  inonopoly  of  learning  in  those  days.  In  most  cases  the 
earliest  Troubadours  took  the  types  of  melody  used  by  the  minstrels  and  composed  them  into  an 
art  fonn  which  was,  naturally,  not  altogether  unafifected  by  the  music  of  the  Church. 

The  earliest  Troubadour  whose  poems  have  come  down  to  us  was  Guillaimie  (Guilhelm)  VII, 
Count  of  Poitiers,  afterwards  the  ninth  Duke  of  Acquitaine,  who,  the  chronicler  records,  "knew 
well  trobar  e  cantar" — "to  invent  and  to  sing" — ;  unfortunately  none  of  his  music  except  a  frag- 
ment of  one  melody  has  been  preserved.  The  name  "Troubadour"  had  been  in  use  before  his  day, 
however,  for  an  injunction  had  been  issued  against  the  introduction  of  their  "infamous  and 
diabolical  love  songs"  into  the  musical  service  of  the  Church;  and  during  the  lifetime  of  this  very 
Guillaume  a  poet  at  the  Court  of  Frederick  Barbarossa  was  complaining  of  the  decline  of  the  art. 

Nevertheless,  the  great  period  of  Troubadour  poetry  and  music  dawned  with  Count  Guil- 
laume, whose  gifts,  together  with  his  high  rank,  gave  the  Troubadour  his  distinctive  place  m 
art  and  society.  He  led  along  a  path  followed  by  other  members  of  the  nobility,  among 
whom  the  most  exalted  was  Richard  Coeur  de  Lion,  King  of  England. 

From  the  South  the  art  spread  to  the  north  of  France  when  Eleanor  of  Acquitaine,  grand- 
daughter of  this  Duke  Guillaume,  married  the  King  of  France,  and  her  far-famed  and  devoted 
Troubadour,  Bernard  de  Ventadour,  graced  her  northern  court  with  his  art,  and  inspired  many  to 
follow  his. example  in  the  making  of  poetry  and  music,  so  that  the  Trouveres  of  the  North  came  to 
rival  the  Troubadours  of  Provence  in  number  and  importance.  And  later,  when  this  same 
Eleanor  became  Queen  of  England,  as  the  wife  of  King  Henry  II,  the  art  sprang  up  there  through 
her  encouragement  and  the  example  of  the  poets  at  her  court,  among  them,  still,  Bernard  of 
Ventadour. 

The  theme  of  the  Troubadour's  song  was,  first  of  all,  love,  but  love  of  the  most  exalted  kind, 
love  of  an  ideal.  As  a  secondary  theme  there  sometimes  figured  any  one  of  the  various  hindrances 
to  love,  as,  especially,  the  false  friend,  the  slanderer,  who  appears  in  No.  Ill,  "Mercy  I  Cry,"  by 
the  Chatelain  de  Coucy.  But  the  songs  are,  for  the  most  part,  in  praise  of  a  lady  heavenly  fair  and 
flawless,  to  whom  the  poet  pledges  undying  fealty.  Sometimes  he  rejoices  in  the  contemplation 
of  her  beauty  and  the  opportunity  for  actual  service  with  its  rare  and  unspeakably  cherished  re- 
ward of  a  kind  look  or  a  smile;  again  life  is  embittered  because  of  her  indifference  to  his  devotion. 
Many  poems  picture  his  desolation  in  being  separated  from  her  for  long  years;  in  some  cases  she 
is  a  Princesse  Lointaine  whom  he  has  never  beheld  with  his  eyes  but  of  whom  he  sings  none  the 
less  passionately.     Such  an  one  was  the  beloved  of  the  great  Troubadour  Jaufre  Rudel.     "He 


was  a  very  noble  man,  and  Prince  of  Blaye,  and  he  fell  in  love  with  the  Countess  of  Tripoli,  whom 
he  had  never  seen,  but  because  of  the  praise  that  he  had  heard  of  her  by  the  pilgrims  who  came 
from  Antioch;  and  he  made  many  songs  about  her,  with  remarkable  melodies  but  less  beautiful 
verses.  At  last,  for  the  sake  of  seeing  her,  he  took  the  Cross  and  set  out  to  sea.  And  on  the 
voyage  a  grievous  illness  fell  upon  him  so  that  those  who  were  on  the  ship  with  him  thought  he  was 
dead;  but  they  brought  him  to  Tripoli  and  carried  him  to  an  inn,  thinking  him  dead.  And  it  was 
made  known  to  the  Countess,  and  she  came  to  him,  and  took  him  in  her  arms,  and  he  knew  she 
was  the  Countess  and  recovered  consciousness,  and  praised  God  and  thanked  Him  for  having  let 
him  live  to  see  her.     And  so  he  died  in  his  lady's  arms." 

One  Troubadour  only,  of  them  all,  did  not  sing  of  love — Marcabru  of  Gascony,  who  pre- 
sented that  utter  anomaly,  a  Troubadour-woman-hater;  he  wrote  only  Sirventes,  that  is  to  say, 
political  poems  describing  feats  of  arms,  or  addressed  to  great  men  to  whom  he  ofifered  the  homage 
of  his  verse. 

But  of  all  other  Troubadours  love  was  the  principal  theme.  As  the  lady  of  the  singer's 
devotion  was  inatchless,  his  songs  addressed  to  her  were,  in  the  poet's  estimation,  incomparably 
beautiful.  It  was,  therefore,  no  undue  self-esteem  which  moved  Bernard  de  Ventadour  to  begin 
one  of  his  songs  thus:  "Marvel  not  that  I  sing  better  than  any  other!"  It  was  only  his  lady's 
due  that  this  should  be  so. 

So  exalted  was  the  object  of  the  Troubadour's  adoration  and  so  worshipful  the  spirit  of  his 
poetic  tribute,  that  these  secular  love  songs  could  be,  and  very  commonly  were,  converted  into 
sacred  songs  by  the  change  of  a  mere  word  or  two  of  the  text ;  in  many  poems  all  that  was  necessary 
was  to  substitute  the  Virgin  or  the  Church  for  the  adored  lady.  This  characteristic  persisted 
even  in  the  poetry  of  the  Mastersingers  in  the  sixteenth  centuiy ;  Hans  Sachs  changed  just  a  few 
words  in  his  "Awake  My  Heart's  Beloved"  and  converted  it  into  a  sacred  song  for  the  "Witten- 
berg Nightingale,"  as  he  called  Martin  Luther. 

But  although  love  was  the  principal  theme  of  the  Troubadour,  he  did  not  write  of  it  exclu- 
sively. Besides  the  love  song  there  was  the  Sirventes,  which  was  written  out  of  loyalty  to  a  great 
prince  or  military  leader,  or  which  might  be  a  song  of  the  Crusades.  For  this  the  author  departed 
from  the  first  rule  of  his  troubadourhood,  and  adopted  a  form  of  verse  already  in  use  in  some  well- 
known  song,  of  which  he  bon-owed  the  melody  also.  A  subdivision  of  the  Sirventes  was  the  Planh, 
a  funeral  dirge,  or  plaint.  To  the  same  family  belonged  also  the  Tenso,  a  poem  in  the  form  of  a 
debate  on  questions  of  gallantry',  love,  politics,  or  morals. 

Then  there  were  less  personal  songs,  narrative  or  dramatic  in  character,  as  the  Alba  (L'Aube), 


a  Song  of  the  Dawn;  the  Toile,  or  Chanson  d'Histoire,  which  told  a  story;  the  Romance,  which  was 
almost  the  same  as  the  Toilc  but  gayer  in  tone;  it  required  also  that  the  author  should  claim  in  his 
story  to  repeat  only  what  he  himself  had  actually  seen  or  heard;  the  Pastourelle  and  Music  of  the 
Dance. 

The  Age  of  the  Troubadours  closed  with  Guiraut  Riquier,  of  Toulouse,  the  period  of  whose 
life  extended  from  1254  to  1292,  and  of  whose  works  there  are  preserved  twenty-four  poems  and 
six  epistles  which  in  their  didactic  character  reveal  unmistakably  the  decadence  of  the  art.  The 
Albigensian  Wars  destroyed  the  independence  of  the  South  of  France  and  so  impoverished  the 
ruling  houses  and  the  nobility  in  general  that  they  were  unable  to  continue  their  generous 
patronage  of  the  arts.  Most  deeply  interested  in  the  course  of  the  struggle  and  in  the  defense  of 
the  right  of  the  Albigenses  to  religious  liberty  was  the  renowned  Troubadour  Bertran  de  Born, 
of  whom  one  of  his  contemporaries  wrote,  "He  is  a  good  knight,  a  good  warrior,  a  good  wooer,  and 
a  good  troubadour."  He  wrote  many  love  songs,  but  liked  almost  better  still  to  write  songs  which 
stirred  to  strife,  for  "above  all  things  he  delighted  in  the  pomp  and  glory  of  war."  Dante  beheld 
in  him  a  sower  of  discord,  who  had  set  the  sons  of  Henry  H  against  their  father  and  involved  France 
in  war;  therefore  he  pictured  him  in  the  Infernal  Regions  {Inferno,  Canto  xxxviii)  carrying  his 
severed  head  in  his  hand,  and  speaking  thus,  "In  severe  punishment  for  having  parted  persons 
who  should  have  been  joined  I  caiTy  my  brain,  alas!  parted  from  its  beginning  which  is  in  my 
body." 

But  although  with  the  long  period  of  war  and  the  consequent  suffering  and  impoverishment 
the  cult  of  the  Troubadours  ceased,  its  spirit  never  died  out  of  French  poetry.  It  was,  indeed,  the 
source  of  the  lyric  poetry  of  France,  and  poems  with  music,  wholly  in  the  Troubadour  vein  and 
manner,  were  written  by  spiritual  successors  of  the  Troubadours  even  in  the  sixteenth  century, 
among  them  such  an  one  as  No.  VI,  "Now  My  Lightsome  Youth  is  Gone"  by  the  courtier-poet- 
musician,  Clement  Marot. 


piograpfjical  j^otes; 


No.  I.     "ALL  THOUGHTS  WITHIN  MY  HEART  THAT  DWELL" 

Anonymous. 

This  Chant  d' Amour  is  by  a  singer  whose  name  is  unknown;  that  he  was  of  late  date  is 
evident  by  comparison  with  the  very  early  Troubadour  song  immediately  following.  It  is  one 
of  the  songs  which  b}-  the  mere  change  of  a  word  or  t-wo  of  the  text,  or  even  by  the  use  of  an 
occasional  capital  letter,  could  be  interpreted  as  a  sacred  song. 


^s*™i:. 


^^,.v^     'IJC 


A  Troubadour  Sings  for  the  Queen  of  France 
From  a  XIV  Century  Tapestry 


No.  II.     "LO!  NOW  I  BID  FAREWELL  TO  VENTADORN" 

Bernard  de  Ventadour. 

One  of  the  greatest  of  all  the  Troubadours,  Bernard  de  Ventadour — or  Ventadorn — began 
life  under  the  patronage  of  Viscount  Ebles  II  of  Ventadorn,  himself  a  Troubadour.  Of  Bernard 
the  old  chronicler  wrote,  "He  is  a  fair  man  and  skilful,  and  he  knows  well  how  to  compose  and 
sing,  and  he  is  courteous  and  well-taught."  He  quitted  Ventadorn,  as  this  song  tells  us,  because 
of  the  indifference  of  the  adored  one,  whose  coldness  drove  him  from  his  home.  How  great  a  grief 
this  must  have  been  we  can  feel  when  we  read  his  lines  on  Ventadorn:  "No  country  in  all  the 
world  is  so  beautiful  as  France,  no  province  so  gracious  as  Acquitaine,  no  village  so  charming  as 
Ventadorn,  no  street  so  lovely  as  its  street,  and  dearest  of  all  the  little  alley  that  leads  to  my  home." 

The  "scornful  lady"  was  probably  the  object  of  the  poet's  youthful  devotion.  Marguerite  of 
Turennes,  wife  of  Viscount  Ebles  III.  He  presently  attached  himself  to  the  Court  of  Eleanor  of 
Acquitaine,  daughter  of  the  First  Troubadour,  Guillaume,  Dul<e  of  Acquitaine  and  Count  of 
Poitou.  Eleanor  became  the  wife  of  Henry  of  Anjou,  Dul<:e  of  Normand}-,  who  ascended  the 
throne  of  England  in  1 154.  Bernard  apparenth-  accompanied  him  there,  as  in  one  of  his  poems  he 
sings:  "This  song  is  quite  complete  that  no  word  is  lacking,  beyond  the  land  of  Normandy,  across 
the  wild  deep  sea.  And  I  am  far  from  my  lady.  ...  If  the  Enghsh  King  and  Norman  Duke 
wills  it  I  shall  see  her  before  the  winter  overtakes  us."  At  another  time  he  writes  as  if  he  greatly 
enjoyed  his  English  sojourn,  "For  the  King's  sake  I  am  English  and  Norman,  and  were  it  not  for 
her  who  charms  me  I  should  stay  till  after  Christmas." 

"  Lo!  Now  I  Bid  Farewell  to  A^entadom"  is  atypical  song  of  the  early  Troubadours  musically; 
very  many  others  could  be  cited  which  are  quite  similar  to  it  in  its  character  of  semi-recitative  with 
frequent  and  more  or  less  elaborate  ornamentation.  The  greatest  masters  of  the  art,  among 
whom  was  Bernard,  are  distinguished  above  the  rest  by  their  triumph  over  the  prosaic  and  their 
achievement  of  rhythmic  freshness  and  chann ,  and  of  what  might  be  called  linear  beauty.  In  the 
interpretation  of  all  their  songs  the  rhythm  should  be  felt ;  the  phrases  should  not  be  too  square- 
cut,  the  curve  of  the  melody  should  be  preserved.  The  singer  is  permitted  unbounded  liberty  in 
declamation  of  the  text  and  expression  of  the  sentiment;  in  the  original  manuscript  there  is  no 
division  into  measures,  and  they  have  been  indicated  here  only  for  the  sake  of  greater  ease  in 
reading. 


Bcruard  de  Ventadour. 


Chateau  Coucy 


No.  III.     "MERCY  I  CRY  WHO  ALL  BEWILDERED  STAND" 

Chatelain  de  Coucy. 

The  Chatelain  de  Coucy  took  his  name  from  Chateau  Coucy,  in  our  day  one  of  the  most 
picturesque  ruins  and  most  beautiful  remains  of  a  mediaeval  castle  in  all  Europe,  which  has  now 
been  utterly  destroyed  by  the  Germans.  The  thirteenth  century  rcii:av  "The  Lady  of  Fayel" 
presents  him  as  one  of  the  most  distinguished  poets  and  courtiers  of  the  age.  An  ancient  tale 
has  persisted  that  the  husband  of  the  lady  of  his  devotion,  being  a  rough  man  with  no  appreciation 
of  the  code  of  chivalry  or  the  cult  of  the  Troubadours,  was  consimied  with  jealousy  of  the  poet,  so 
that  he  cau.sed  him  to  be  killed,  and  his  heart  served  up  to  his  lady  at  dinner.  Whereupon,  when 
he  had  taunted  her,  and  made  known  to  her  what  was  the  meat  that  she  had  eaten,  she  passed 
through  the  window  to  one  of  the  towers  of  the  castle  and  threw  herself  down  to  her  death. 

The  story  is  told  also  of  another  one  or  two  of  the  Troubadours,  and  is  undoubtedly  a  mere  fable 
of  later  invention.  The  Chatelain  de  Coucy  went  on  a  Crusade  to  the  Holy  Land  in  the  company 
of  the  English  King,  Richard  the  Lion-Hearted,  in  1190,  and  was  killed  two  years  later,  in  battle 
against  the  Saracens. 


'  Arras  "  with  Troubadour  and  Lady 
XIII  Century 


10 


No.  IV.     "IT  WAS  IN  MAY" 
Moniot  d'Arras. 

"It  was  in  May"  is  a  gay,  springtime  song,  by  Moniot,  a  famous  Trouvere  of  the  thirteenth 
century,  in  the  ancient  city  of  Arras,  celebrated  for  its  marvellously  l:eautiful  tapestries  woven 
after  the  designs  of  the  greatest  artists.  So  supreme  in  this  art  was  it  that  its  name  was  com- 
monly substituted  for  the  common  noun  and  in  mediaeval  romances  a  beautiful  hanging  was 
spoken  of  as  an  "arras."  This  picturesque  old  city  was  one  of  those  that  suffered  devastation  at 
the  hands  of  the  Germans  in  191 7. 

The  little  song  is  in  itself  an  "arras":  a  mille  fleur  background  of  the  blossoms  of  May;  a 
fountain;  a  jongleur  playing  his  vielle;  a  cavalier  and  a  charming  damsel  dancing  on  the  flowery 
mead.  The  song  is  followed  by  a  dance  such  as  the  lovers  may  have  enjoyed  on  that  delightful 
day  in  May.  Such  dances,  written  on  the  theme  of  a  song,  are  occasionally  found  on  the  pages 
which  have  been  left  blank  to  cover  and  protect  it  in  the  ancient  manuscript.  They  are  invariably 
in  later  notation  and  musical  style.  This  one  was  added  probably  about  a  century  after  the 
original  song  was  written. 


11 


kSuiQutic  kpiibd  Q^obiu  to 


f^^xmi/ioii  catFUi5ft(t\l1taiDiis. 


^ 


OlmiS  ITUll 


-^ 


mewbrris  imv 


5^ 


Mim  md  Ouiuml^e:  ti  mu^i^o 


Facsimile  of  Original  Manuscript  of  song  "Robin  Loves  Me,"  by  Adam  de  la  Hale,  1285 

12 


No.  V.     "ROBIN  LOVES  ME" 
Adam  de  la  Hale. 

Adam  de  la  H^le,  also  a  native  of  Arras,  was  not  only  a  Trouvere  of  renown,  but  the  composer 
of  the  earliest  French  comedy  with  music,  "Le  Jeu  de  Robin  et  Marion,"  which  was  produced 
about  1285  at  the  Court  of  the  King  of  Naples.  In  this  opera  comiquc  he  introduced  many 
songs  such  as  this  "Robin  Loves  Me,"  some  of  which  were  written  by  himself  while  others  were 
adaptations  of  popular  Troubadour  songs.  The  picture  with  which  the  song  is  illuminated  in  the 
manuscript  presents  the  lady  riding  on  her  palfrey,  a  falcon  poised  on  the  forefinger  of  her  up- 
lifted hand  as  she  sings  her  coquettish  little  song. 


13 


No.  VI.     "NOW  MY  LIGHTSOME  YOUTH  IS  GONE" 

Clement  Alarot. 

"Now  My  Lightsome  Youth  is  Gone"  is  not  a  Troubadour  song  in  the  strict  appUcation  of 
the  word;  it  does  not  fall  within  the  period,  as  it  was  written  at  a  much  later  date.  But  it  is  in- 
serted here  as  an  interesting  illustration  of  the  influence  of  the  "verse"  of  the  Troubadours  upon 
the  later  lyric  poetry  of  France  and  upon  the  music  wedded  to  that  poetry\  This  little  song  is 
indeed  wholly  in  the  vein  of  those  of  the  Troubadours.  The  lady  of  the  singer's  poetic  devotion 
was  the  fair  Diana  of  Poitiers. 

Clement  Marot,  courticr-poet-musician,  son  of  the  poet  Jean  Marot,  was,  as  a  boy,  page  to 
Marguerite  of  Valois,  sister  of  King  Francis  I  of  France,  and  later.  Queen  of  Navarre.  In  after 
years,  when  he  had  established  himself  as  a  great  favorite  at  Court  and  a  famous  poet,  he  became, 
through  her  influence,  profoundly  interested  in  the  Bible  and  the  Reformation.  He  translated 
many  of  the  Psalms  into  French  verse,  and  they  were,  in  the  beginning,  as  highly  favored  as  his 
love  songs.  Everyone  at  court  adopted  a  Psalm,  so  that  one  became  known  as  "the  King's 
Psalm,"  another  as  "the  Duke  of  Valois'  Psabn,"  another  as  "the  Lady  Marguerite's  Psalm,"  and 
so  on.  These  were  sung  to  popular  tunes  of  the  day.  But  after  a  time  Marot  fell  into  disfavor 
because  of  his  adherence  to  the  Reformation,  and  spent  the  last  years  of  his  life  in  exile,  several 
of  them  with  John  Calvin  at  Geneva,  where  he  continued  to  make  metrical,  in  this  case  poetical, 
versions  of  the  Psalms,  which  were  set  to  music  by  Claude  Goudimel  and  Theodore  de  Beza  for 
use  in  the  French  Church.  Marot  died  suddenly  in  Turin,  in  1544,  of  poison  administered  by 
his  enemies. 


14 


ALL  THOUGHTS  WITHIN  MY  HEART  THAT  DWELL 

I. 

CHANT    D' AMOUR 
(Anonymous) 


* 


Andante 


P 


^ 


Andante 


All 
Thou 


^^ 


^ 


a        M 


^ 


*Mt* 


~a 


P 


^     ^     J     i 


J    J     J     j- 


i    i 


^ 


^ 


i 


?^^^=^ 


thoughts    with 
ten       -      der, 


in 
cho 


my 
sen 


heart 
com 


that 
fort 


dwell, 
er, 


They 
Thou 


Copyright    1920  by   The  H.W.Gray  Co. 


i: 


ten 
heart 


der, 
and 


^^ 


cho 
soul 


sen 
naught 


com 
else 


fort 
do 


^ 


er. 


know 


J ^ 


T- 


f= 


Stay 
But 


i 


T 


^ 


J. 


^ 


J. 


^ 


^ 


^ 


P 


r 


± 


? 


3r: 


thou    with      me;  . 
love      of         thee- 


# 


m 


^m 


Thou 

Thuu_ 


r^ 


rw 


T 


m 


T"^^j 


rr 


? 


J: 


J. 


^ 


1 


P 


^ 


? 


f= 


P 


* 


t: 


w;, 


•/ 


^^ 


ness,     Thou 


Thou. 
Thou. 


Thou  shalt  be  mine      for 

Thou  spir      -       it       of         all 


ev 
glad 


All  Thoughts  etc.   H 


I 


fc 


^ 


Could 

strength 


^ 


my 
and 


^^ 


i 


love 
cour 


all 
age 


powr 
dost_ 


con 

be 


trol, 
stow. 


«r — w~- — w~F 


J     J     J 


i 


s 


3 


^ 


f 


:J: 


Mitn. 


4 ^ 


'r-^  ^ 


s 


-o- 


^ 


^ 


from 
ban 


thee 
ish 


would 
care 


I 

and 


sev 
sad 


m 


^ 


^ 


i 


er. 

ness. 


3 


i 


r     f    »i 


r- 


w       ^ 


51PI 


d. 


-A 


A 


A 


r 


i 


g 


#=^ 


^ 


^ 


r 


r 


AU  tbouglits  etc.  3 


LOI   NOW  I  BID  FAREWELL  TO  VENTADORN 

II.  BERNARD    DE  VENTADORN 

(1145-1195) 
Transcribed    by    Otto   Kinkeldey 
Accompaniment    by    Clarence    Dickinson 


Moderato  ma  sempre  apiacere 


P 


^'Vb"i.  *' 


Moderate  ma  sempre  a  jiiacere 


Lo! 


^'i.V'i,  <^  I  i 


i 


•n=— ^ 


s 


^ 


• 


P 


"^  ^')K\  *''  J  ' 


21 


# 


tfte 


g=^ 


^ 


Se^^^^ 


LJ   LJ 


now 


I  bid  fare       -       well 


to 


Yen     -       ta 


Copyright  1920  by  The  H.W.Qt'ky  Co. 


p 


feE 


b'l.  LJ 


^^m 


i 


»i 


wan     -     der,  sad, 


for     -       lorn; / 


My 


^ 


r\ 


^ 


eg 


■==* 


7 


c\' 


i 


^ 


? 


^^ 


C/ 


X 


^ 


iW 


^ 


*'  J* 


LJ^lJ 


■^ 

^ 


nob 


le  la    -       dv  loves 


uie  now  no 


i^ 


n^F^ 


1 


f 


Z=5 


:i 


f= 


^ 


Lol  Now  I  Bid  F.  To  V.    ;i 


6 


^^m 


O  ;>  ;.  J 


s 


dz 


^^^^ 


why doth—      she       up  -    on  me 


loose her 


P 


/ 


.^ 


^ 


^^ 


^ 


^^ 


r    LT  LL/ 


scorn?  That  my     songs     on   -    ly  ^i'^g her      beau  -  ty. 


i 


^ 


m 


4 


^ 


£ 


f 


i?^ 


^^^^^^J^r  _J 


i 


i^ 


^ 


i^ 


T" 


*^ ^ 


* 


te 


B^ 


i 


^ 


^ 


bright! 


For  in. 


I 


te 


her beau      -      ty 


» 


* 


a 


^ 
i 


^^ 


i 


i 


i 


fe^^^ 


=^=  r 

poco       rit.       y 


^ 


t r 


|>^''i'V'i.  Cf 


r\ 


d    ^ 


IS my_ 


sole. 


de     -      light. 


Lul   Now  I   Bid  F.  To  V.    3 


MERCY  I  CRY,  WHO  ALL  BEWILDERED  STAND 


ni. 


CHATELAIN   DE  COUCY 

(1157-1192) 


Moderate 


*4 


p 


^ 


i 


fl 


# 


3 


P 


^m 


^^ 


Z2 


Mer  -  cy        I  cry,   who      all  be  -  wilder  -    ed  stand! 


^^ 


^* 


i 


1 


^ 


3 


/> 


^^-tfiitf  ^   r  ^f 


-1 -^ 


i 


i 


i 


P 


P 


* 


fefe^ 


r  r     If 


i 


^^ 


^^ 


*=« 


For      now  I        make     an end     of      my      sweet      songS3 


U 


m 


^ 


B 


i 


f 


^>M  ^  J 


1^ 


^ 


^ 


Copyright    1920  by  TheH.  W.Gray  Co. 


8 


M 


^^m 


^ 


* 


p 


g^g 


fe 


^ 


She    whom     1  love       hath   quite  for  -   sak     -      en 


^ 


me, 


M 


I 


i 


^ 


& 


3: 


* — ^ 


^^^ 


^ 


S 


?^ 


^ 


*fe 


^ 


^ 


j^     h  J     J     |J^^ 


^ 


J      * 


My      well 


be   -   lovd,      to  whom     my     life       be    -     longs- 


M 


P^'^^ 


^ 


i 


P 


^f^ 


** 


i 


s^ 


^^ 


^ 


i 


ifft 


i 


^ 


/ 


^ 


^ 


^^ 


^ 


Be  -  tray'd    am  I,         Oh       false     friend,  and  by 


th 


ee! 


M 


m 


si    i  ^» 


i 


f 


3 


3^3= 


e 


J 


^^ 


^ 


^ 


^ 


p 


i 


i 


iS 


^ 


ifi 


lA 


^^ 


4*4 


j  j  r<^ 


^^ 


^ly       joy         is  dead,  and        dead  ib         all        my  art; 


No 


i 


3        J     =»= 


IS 


w, 


!/• 


^ 


^ 


^ 


^ 


? 


I 


a 


r^J        J       J 


a 


g^i^ 


?^ 


P^ 


ife* 


^        » 


Ion- ger    can        I      sing,  with        brok     -     en 


heart,  For,  with    my 


M 


i 


i 


i^ 


*    a' 


J=ll 


p 


<'):tlJ    »' 


i 


g 


^ 


P 


P 


M 


^ 


S 


^ 


^^ 


=(c 


^ 


joy,    my  hap  -  py 


songs. 


de 


part. 


m 


i^^^^ 


-d? 


t>:li..tl    » 


v^^ii"  r  'if  i 


r  1^  i  r 


s 


^ 


P 


Mcicy  I   Cry    a 


10 


IT  WAS  IN  MAY 

IV. 


MONIOT    D'ARRAS 
XIII  Century 


Grazioso 


^ 


P 


■^  b  4-     - 


7^J    i-T)     ^ 


^ 


:f2 

:2 dt. 


^ 


■wz. 


/ 


^=^=^ 


F 


^ 


^ 


^ 


^ 


i 


?/z, 


■/  - 


tEEEi: 


^^ 


#=F 


It  was ill  ^I'iy,       AH  bios    -     soms 


^ 


^ 


^  V 


^^=^ 


* — a^ 


:z:: 


Poco  rtt. 


■7)ifa  tempo 


p. 


m 


i=p 


^M-  'f 


^i^ 


^ 


^ 


^ 


^  r    ir- 


gay,       My         thoughts    were  love    -     ward      wing 


tyi. 


■f 


'Hi      f 


^ 


^ 


J.. 


^ 


^^ 


i 


?// 


P 


ing,  In 


i 


„f 


P 


Copyright  1920 by  The  H.W.Gray  Co. 


11 


tn 


■/t=   =— 


t 


^ 


^ 


^^ 


^ 


P^ 


fouii    -    tain   spring 


iiig.  Ill       flow    -   'ry     grove,         I         met my 


O  J  J 


i 


^ 


i 


^ppf 


Uf 


f  f  r  ^ 


7// 


'f 


V- 


ff  r  ^'1 


^ 


^ 


P 


^ 


^ 


i 


^ 


^ 


^ 


^ 


lovej  To      vi      -       o 


liu  en  -  tranc-ing  My     la      -       dy       fair  With 


I 


i 


^ 


i 


^^ 


f  0 

-0-         -»■ 


Ull 


^ 


^ 


I*     • 


p 


^ 


i 


ri7. 


r^ 


^ 


s: 


me  did      pair,  In      sweet    -     est       meas     -     ure        danc 


^^'JrUl 


i 


^ 


ing. 
0\ 


^^ff 


s^ 


'>--\.  r  r  r 


rit. 


i 


^^ 


^ 


It  Was  lu  May   7 


12 


DANCE 
Allegretto 


^ 


± 


mM^ 


jm  t^.-f  ^f  ^f  ^.f  ^^"JifTiN 


g 


p 


'H  i   j 


r   r   r 


i 


s 


Z2 


i 


J^ly  ^r.  ^\ry  ^^  ^ 


^ 


REFRAIN 


r-— r    Lr  ^"— r    L/  r^— r    C-r 


iJU 


J^ 


^^ 


i^ 


^ 


3 


*^ 


±: 


'^  rrf=Tr 


^^ 


i 


^--f   i:/ 


^^^^^=^ 


^ 


]EZ 


^ 


^ 


^ 


3 


*=# 


I 


f- 


g 


i*=^ 


i 


^^==n:? 


rrcf 


poco  rit. 


a  tempo 


^ 


3 


0^0 


It   Witb  lu   .\hiv  7 


POINT  2 


18 


f  ^#  ^f  >  .r  r  r 


J)  ,f  f  r  ^ 


REFRAIN 


fiS 


s 


i 


*i  * 


*=^ 


^^^ 


^ 


:^i 


i 


i^ 


^ 


j_    l»j<j_H    Ifj  *Jj 


r^=p=Y 


rr  f 


^ 


S 


»  ^  ^  d 


^ 


:^^ 


E 


E 


^ 


r 


ri7. 


a  tempo 


^ 


^ff^ 


T^ 


Tn 


r 


rr  f 


POINT  3 


^  H  F 


gg? 


^ 


^— ^ 


3 r 


:EEEEj; 


w. 


•/ 


o  tempo 


^ 


^ 


i 


i^ 


^^ 


IS 


2:1 


It  Was  lu  Mny  7 


14 


REFRAIN 


2 


*^i.*    i  ^ 


5 


^^ 


^ 


LJLT    ^-^f      C7 


^^ 


fe5EEEEEE£ 


i 


^ 


^  ii_Lx_Lr 


i»       i^ 


3 


i 


i 


^ 


Z 


feEi 


^^^f      L/    r^^f      C:? 


3 


*x^M   «  i 


±^ 


^^ 


r- 


i 


1^ 


-f     c^ 


i^  r 


i 


r 


t: 


T 


f 

I  a  tempo 


■9- 


poco  rit. 


^ 


iE 


It  W«s  lu  May  7 


15 


POINT   4 

• — • — 1 

pS* 

t 

f  f  f 

0         J      1 

'if'  ^   ^u 
f 

J          #-               H 

:^F=- • 

Iff- 

^ 

r  r  r 

r     j     J=j 

_s> ^ 

-- — « — r   f^ 

■^  b     * • 

•        1 

1 — 9 — 

Lj. J J 

• —  r=i^ 

REFRAIN 


i 


*it 


^ 


W 


v~^ 


? 


£ 


F 


i: 


«= 


E 


pp 


_^_^ 


* — *    J. 


fe 


s 


? 


^^^E^EEi 


iF=f 


V    ^ 


^  ^    5 


I 


«— r 


fe£f 


^ 


3= 


Es 


^ 


v^b  J  J  A 


*=sl 


^1 


d 


EEl 


iF=^ 


^      *    ^    *    ^ 


■r    * 


* 


POINT  6 


• rtr— ■ — -^ — m 


^ 


s: 


riV. 


^ 


^=^^ 


JO  a  tempo 


^ 


^P^ 


^   :^    ^   :^ 


\^' 


It  Was  lu  May    ■? 


16 


REFRAIN 


^ 


^ 


^      i      I 


^^ 


^ 


|9 — :^ 


LIS  ^^f    C7 


Mnestofn) 


«?— f 


fet 


*=?: 


9 


E 


S 


a: 


^ 


^^^ 


•f  ^f  ^'P 


^^ 


E 


^ 


Ei 


^   ^  ^ 


r\ 


0 K 


rt7. 


P 


/7^ 


*    ^    f 


^    •"   9^ 


It  Was  lu  May    7 


ROBIN   LOVES   ME 

V. 


17 


ADAM    DE    LA   HALE 

(c.    Ili85l 


i 


Andantiuo 


k^ 


^ 


^ 


Andautiuo 


M=3= 


i^ 


j=l 


^^=^ 


^ 


i> 


^^ 


P 


:22 


^ 


^ 


i 


7/i 


•/ 


P 


PP 


^ 


Ro   -   bill. 


loves     me,  Loveb    but 


me- 


Ro  -  bin 


hK'  \^\ 


m 


t 


^ 


^ 


7;z 


■/ 


^ 


# 


Be 


* 


fe* 


i 


J      I    II 


a 


P 


r  r    If 


hast  -  ens  now      to wed     me,  If         he 


# 


^ 


^     may! 


^^ 


^4;^=i 


± 


j     'i   LT 


v^'v^  r  f' 


^ 


^^ 


^ 


132: 


±d2 


Copyright    1920  by  The  H.W.  Gray  Co. 


18 


^M 


^ 


^ 


p 


^ 


Ro  -    bin       will  buy me  silk    -    en  dress  -    es, 


m 


i 


^ 


» 


is: 


■^ 


r=\. 


? 


122 


^ 


S 


^ 


^ 


^ 


^ 


Rib    -     boijs. 


gay 


to 


bind        my  tress  -    es, 


m 


^ 


^=^ 


^n^^^ 


^ 


p 


i 


if 


sc 


t 


Y^'  r 


p 


r    If    r 


Cloak      of 


^M 


red         and  gir     -       die 


i 


gold    -     en, 


3 


w/' 


'/i.i'it-  r    r 


1 


^ 


s 


3z: 


hubiu   Luves  Mu    it 


19 


m 


p 


r      u 


^      i   |J 


X — ~ — 


^ 


If 


he  may! 


I 


fe 


i 


IE- 


V^b"!.'-    f        (' 


Ro    -     bill. 


J      ^      "     ^ 


P 


-3Z. 


loves     me, 


i 


m 


i 


* 


^ 


^ 


Loves     but 


i 


me! 


w. 


■/ 


^ 


Ro    -     bin 


hast  -    ens 


I 


S 


h"  I'    j 


*==* 


ZS2Z 


#         ,/: 


■# — - — 0- 


tTT 


mf 


'>-^\>  r     [' 


^ 


fe 


rit. 


i 


!T        /     II 


^ 


r    ir    r    ir^ 


now         to 


wed         me,  If  he 


may ! 


l/^>r]Jl 


^ 


t=^ 


rit. 


'>  b'i>  f    r    r 


^ 


^ 


Robiu  Luves  Me    3 


20 


NOW  MY  LIGHTSOME  YOUTH  IS  GONE 


VI 


Allegretto 


CLEMENT    MAROT 
(1495-1544) 


i 


y 


rit. 


i 


%h  J -^7 


s 


t 


^ 


f 


rit. 


^^ 


-i- 


f 


iis 


jt?  a^  tetnpo 


^ 


^ 


'         S 


Now  my li^J^^         some  youth         is g^i^t;,  And 


^ 


^ 


•        d 


p  a  tempo 


t 


'■>¥m^    ' 


T 


T:n 


1 


p 


? 


p 


*8 


^ 


pg 


r     iti^'  J'  p 


^^ 


all 


my 


joy        in      life       is  sha 


ken. 


* 


\h  -T^ 


f 


^ 


T-J 


i 


^ 


Copyright  1920  by  The  H.  W.  Gray  Co. 


21 


i 


m 


It 


i 


^ 


My 


bright        morn     -      iiig 


and my iiuoii,  Too 


i 


u 


^ 


^^ 


i 


^ 


^ 


ft 


T 


m 


rr-^ 


22 


p 


*# 


^ 


r    iit^'  ^'  P   i 


p^^ 


soon,  a 


lab!    Their   flight    have         ta 


ken: 


i 


u 


i 


f 


T^^ 


I 


a=t=f 


48 


/)iM     7HUSS0 


s=s 


-^' — ff 


^ 


r      p  p 


Love! 


Thy       fa        -      vour 


im 


8A=^ 


H 


plore! Thee 


f 


P 


^ 


Sii^ 


i 


^^ 


r  r  r  p 


r  I    r 


»=*: 


Nuw   Mv   LiKhtsOiiiP   Volitli  Is   (ioue    ;•! 


22 


? 


u       7neno  7nosso 

h  7 


^ 


^ 


rit. 


zzz 


la. 


have  I 


serv'd        with_  all my_ 


heart; 


A 


ineiw  mosso 


i^J 


I 


J J- 


I 


rit. 


7 


r/-hH  f- 


¥ 


^ 


f 


a  tempo 
A 


ll'"\'   ,1    '  J 


?ss^ 


Ah!       If  1       could        be 


born  once  more,. 


^y 


rail. 


^^ 


r-y 


^ 


Bet      -       ter  would  I 


play 


mv 


y 


^ 


/7^ 


part! 


raU. 


^HA^ 


^ 


c\ 


E 


T=^ 


Now  My  Lightsome  Youth  Is  Goue   3 


fL